Moderators Travis In Austin Posted March 23, 2016 Moderators Share Posted March 23, 2016 Tough question. I'd first offer replacement cost from Klipsch--$285 each, delivered to your doorstep. Chris From who Chris?? I thought you were aware of this going on? It stems from a thread from January about 402s and Tad drivers, a new member posted something about they were available as horn only from Spence Cho at ACE, and he quotes an exact price. Then someone mentions that they were not able to do this in the past, that they had to come with drivers, and he confirmed that he obtained a pair without drivers, and the price. Here is a link to the thread. Well for some reason this browser won't let me copy and paste the web address of that threat, maybe I can link it another way. Quote Link to comment Share on other sites More sharing options...
babadono Posted March 23, 2016 Share Posted March 23, 2016 https://community.klipsch.com/index.php?/topic/161495-you-were-all-right-about-the-tads-and-the-402/page-2 Think this it at post #22 And yes this is what my post suggesting we get them from the Chief was refering to. I think there were a bunch of us wanting to get on that bandwagon 1 Quote Link to comment Share on other sites More sharing options...
IB Slammin Posted March 23, 2016 Share Posted March 23, 2016 (edited) Just as a point of departure in our listening preferences: the day we shared listening to vented boxes (among other configurations), I really didn't like the sound of any of them. Flabby but powerful would be my descriptors...even the 4x15". The Jub bass bin sounds, well, correct...to my ears. So does the New Center (i.e., the K-402-based multiple entry horn)--the same way but much better midbass (100-400 Hz) and much more cohesive. Chris It is refreshing to read that some of the the bass horn guys admit that this is subjective. Yes there are tradeoffs. Many will trade a little flabby for extreme impact. tc Edited March 23, 2016 by IB Slammin Quote Link to comment Share on other sites More sharing options...
jwc Posted March 23, 2016 Share Posted March 23, 2016 If Chief Bonehead comes out with a non-behind-the-screen passive for the KPT-942/4-B, I'm all back in. I've slowly let my Pro Cinema products go over the last few years. Except I kept my four KPT 684's subs.....I haven't completely lost my mind....yet. Quote Link to comment Share on other sites More sharing options...
IB Slammin Posted March 23, 2016 Share Posted March 23, 2016 (edited) If Chief Bonehead comes out with a non-behind-the-screen passive for the KPT-942/4-B, I'm all back in. I've slowly let my Pro Cinema products go over the last few years. Except I kept my four KPT 684's subs.....I haven't completely lost my mind....yet. What? No 510 tweeter? And James...some would question the sanity of running 4 684's in a home environment smile Edited March 23, 2016 by IB Slammin Quote Link to comment Share on other sites More sharing options...
Chris A Posted March 23, 2016 Share Posted March 23, 2016 It is refreshing to read that some of the the bass horn guys admit that this is subjective. Yes there are tradeoffs. Many will trade a little flabby for extreme impact. Yes, there are trade-offs to every design. Horn-loaded bass is high on my list of desired qualities however because of the tightness and transparency of sound, very much like what Richard Heyser referred to as the "closing car door" effect when reviewing the Khorn. It sounds real--not like a disco. Chris 1 Quote Link to comment Share on other sites More sharing options...
IB Slammin Posted March 23, 2016 Share Posted March 23, 2016 It is refreshing to read that some of the the bass horn guys admit that this is subjective. Yes there are tradeoffs. Many will trade a little flabby for extreme impact. Yes, there are trade-offs to every design. Horn-loaded bass is high on my list of desired qualities however because of the tightness and transparency of sound, very much like what Richard Heyser referred to as the "closing car door" effect when reviewing the Khorn. It sounds real--not like a disco. Chris Disco? Ah man that was low..... 2 Quote Link to comment Share on other sites More sharing options...
Moderators dtel Posted March 23, 2016 Moderators Share Posted March 23, 2016 I've slowly let my Pro Cinema products go over the last few years. And there are many people out there who really really appreciate it. 2 Quote Link to comment Share on other sites More sharing options...
Chris A Posted March 23, 2016 Share Posted March 23, 2016 Disco? Ah man that was low. No, no. DIsco/dance, hip hop, and funk have their own acoustic signature. ...You're not talking about culture...are you...? Chris Quote Link to comment Share on other sites More sharing options...
IB Slammin Posted March 23, 2016 Share Posted March 23, 2016 Disco? Ah man that was low.No, no. DIsco/dance, hip hop, and funk have their own acoustic signature. ...You're not talking about culture...are you...? Chris Oh no. I wouldn't dare. But you are exactly right. It does come down to genre and I don't listen to Brahms very often 1 Quote Link to comment Share on other sites More sharing options...
Chris A Posted March 23, 2016 Share Posted March 23, 2016 (edited) Nor do I...music from about 1840--1900 sort of got lost in the metaphor, I think (except for the Russians). I prefer the periods of music before and after that time period. Yes...that's what I said... Chris Edited March 23, 2016 by Chris A Quote Link to comment Share on other sites More sharing options...
Schu Posted March 23, 2016 Share Posted March 23, 2016 If one was bi-amping a 402/la scala set up, how would you integrate a XO... either digital or passive? Quote Link to comment Share on other sites More sharing options...
Chris A Posted March 23, 2016 Share Posted March 23, 2016 (edited) Two stereo amplifiers direct coupled to their loudspeaker drivers (bypassing the passives), with a digital crossover feeding the stereo amplifiers, and your preamp feeding the digital crossover. Your choice of amplifiers, the better one driving the K-402 HF driver. Passive crossovers that do the EQ properly would be very expensive and time consuming (see rigma's crossovers), and you'll have to move the K-402 back away from the front of the La Scala bass bin in order to time align it. Edited March 23, 2016 by Chris A 1 Quote Link to comment Share on other sites More sharing options...
The Dude Posted March 23, 2016 Share Posted March 23, 2016 If one was bi-amping a 402/la scala set up, how would you integrate a XO... either digital or passive?There are eq settings for this sort of thing. Active would be best and using these settings would be a great start. I will say they are for the EV dx38.Sent from my SM-N920P using Tapatalk Quote Link to comment Share on other sites More sharing options...
Chris A Posted March 23, 2016 Share Posted March 23, 2016 I doesn't really matter which digital crossover that's used - the settings don't really change. IIRC, the Ashly processors used to use "bandwidth" instead of "Q" for the width of the filters, but that might have been the McIntosh crossover. mark1101 will remember. Rane has a conversion calculator online to translate the Q settings to bandwidth for you. No biggie. Chris Quote Link to comment Share on other sites More sharing options...
Schu Posted March 23, 2016 Share Posted March 23, 2016 (edited) :thumbsup: Does using four monos complicate the scenario at all by requiring a better digital XO that would allow for monoblocks? Edited March 23, 2016 by Schu Quote Link to comment Share on other sites More sharing options...
Chris A Posted March 23, 2016 Share Posted March 23, 2016 No, they don't. Quote Link to comment Share on other sites More sharing options...
Coytee Posted March 23, 2016 Share Posted March 23, 2016 (edited) I doesn't really matter which digital crossover that's used - the settings don't really change. Chris, what's your take on this... (attached) I'm sure you've already seen it. Mark1101 has posted it and I've saved it to my pc. TwoProcessors.pdf Edited March 23, 2016 by Coytee Quote Link to comment Share on other sites More sharing options...
IB Slammin Posted March 23, 2016 Share Posted March 23, 2016 Nor do I...music from about 1840--1900 sort of got lost in the metaphor, I think (except for the Russians). I prefer the periods of music before and after that time period. Yes...that's what I said... Chris Yes I understood what you said. I would like to think that you understood what I said. 1 Quote Link to comment Share on other sites More sharing options...
Chris A Posted March 23, 2016 Share Posted March 23, 2016 (edited) Chris, what's your take on this... (attached) I'm sure you've already seen it. Mark1101 has posted it and I've saved it to my pc. For DSPs, that is an issue, but remember that DSP stands for "Digital Signal Processor" - it's a chip - usually with software or firmware libraries offered by their manufacturers. If you're using OEM chips to integrate into your audio loudspeakers, amplifiers, preamps, or other audio products, you've got to pay attention to this problem. However, it's been my experience that digital loudspeaker controllers (which are much larger boxes than the chips with many more parts), I find that they're far more consistent in their settings...not that I'm any expert, by any stretch. But I've not seen any real big differences in the products that I've talked about here (EV, Yamaha, Xilica, Ashly), although Mark F. (mark 1101) has mentioned some issues that he had with (IIRC) the McIntosh unit that he had, in terms of getting the settings to transfer from his Ashly. But I don't consider McIntosh to be a big player in the digital crossover market, however, only a niche one. Chris Edited March 23, 2016 by Chris A Quote Link to comment Share on other sites More sharing options...
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